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Vinyl Review: Martin OST

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In 1977, George A. Romero released Martin, a modern vampire story. The film follows a young man, who is believed to be an 84 year old vampire, as he goes to live with his cousin in a small town in Pennsylvania. The film plays with the idea and mythology of vampirism wonderfully, portraying Martin as both evil and innocent throughout the film. We see him kill, we see he recount his evil doings, and yet the audience is always left questioning whether or not he is truly evil. What drives this point across in the most spectacular way is Donald Rubinstein’s score. A beautiful mix of classical inspired pieces mixed with jazz and haunting vocals, the soundtrack for Martin is a gorgeous example of film scoring. Now, thanks to the fine folks over at Ship to Shore PhonoCo, A Light In the Attic, and One Way Static we can experience the score in one of the best ways possible.

Martin Artwork

Official artwork for the Ship to Shore PhonoCo. Martin vinyl.

 

Right off the bat, the artwork captures the look and feel of the film. Gothic, modern, and very playful with the theme of Martin being a fake vampire. The contrast between the cheap fake vampire teeth and the bloody razor are a simple and elegant way of portraying the film, and its score, playful nature with its very serious content. The soundtrack is printed on a thick 180 gram vinyl and is taken from the original negative print of the score, ensuring great sound. The sleeve includes liner notes from both Donald Rubinstein and actor John Amplas. Rubinstein’s notes paint a picture of what he went through composing the score. He talks about writing the score, basing it mostly of the script alone, his influences, meeting George, where he was at at that point in his life and career, as well as talking about the stark contrasts in the score. It is always great getting more perspective from the composer years after the score has been made, and Rubinstein is a great storyteller and very insightful. Now its time to run some wax.

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The opening theme “The Calling”, sets the tone using a slow beat with gothic tones. This, with the operatic singing, help establishes the film with one foot in the past as a reminder of early vampire films like Nosferatu and Dracula. At the same time the piece is very hypnotic, like the voice is calling out to someone. I love this because it reminds me of Dracula quite a bit, how through out the novel his calls out to Jonathan and his fiance. It is a very hauntingly beautiful piece and the score does a great job of reprising this piece at key moments. But the soundtrack doesn’t just play haunting music, alot of the soundtrack is jazz.

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There are pieces from this soundtrack that make me forget I am listening to a soundtrack, “Back To Me” is one of them. The jazz pieces are a large reason why the film is considered hip and modern. It helps establish Martin and the viewers in the now and at times helps to add fuel to the chaos happening on the screen. When the jazz is mixed with the gothic pieces it helps to create an environment of chaos, innocence, but also of a man of two times. As John Amplas said in the liner notes: “It moves from gothic romance to operatic heights swirling into chaotic jazz filled with tension and soul. Its original and it motivates the story.”

One way to judge a soundtrack is if the piece works on its own, and Donald Rubinstein’s score for Martin not only drive the films major themes, but its stand on its own two feet. This is a beautiful soundtrack that has been given a fantastic and worthy release. I would highly recommend this not only for fans of horror soundtracks, but fans of music in general. MOJO Magazine named it as one of the “Top 100 Coolest Soundtracks Of All Time” and it is very true. There are multiple variants of this record being sold in addition to regular 180 gram black being sold by different companies and they are:

Ship To Shore PhonoCo is selling a black & white swirl called Transylvanian Flashback. Limited to 500

Light in the Attic (US) and One Way Static (UK) are selling a Marble “Blood” Red. Limited to 500.

All three are selling 180 gram black was well and those are limited to 1000.

TRACK LISTING

A1. The Calling / Main Title
A2. Train Attack
A3. Phased
A4. Tat Cuda’s House
A5. Martin At The Butcher Shop
A6. Antique Chase With Villagers
A7. Garlic Chase #6
A8. Martin Goes To The City
A9. Christina Leaves
A10. Halloween
A11. Modern Vamp

B1. Chant
B2. The Calling (Reprise)
B3. Braddock / Chase
B4. Back To Me
B5. Crawling Sequence
B6. Martin Martin Martin
B7. Marie – Interlude
B8. Evocation
B9. Fly By Night
B10. Exorcism / Classical Funk
B11. Stake, Well Done!

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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